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OF POSITIONS and Half POSITIONS Having Several MARKS At OF POSITIONS AND half POSITIONS having several MARKS at once Diagram illustrating The Bretagne, from Weaver’s Orchesography p.114, 2nd ed. Printed for, & sold by Ino. Walsh [ca. 1715] i. Of Positions and half Positions having several Marks at once In 1705 English Dancing-Master John Weaver’s Orchesography or The Art of Dancing by Characters and Demonstrative Figures was first printed. This text sought to explain the whole art of dance, with tables of steps and rules for the motions of the arms so that anyone could learn various dances. “Of Positions and half Positions having several Marks at once” is a chapter heading taken from this publication. Weaver (1673-1760) choreographed many ballets and pantomimes, some of which were performed at the Theatre Royal at Drury Lane. A series of lectures given by Weaver in 1721 were one of the first attempts to base dancing and dance instruction on anatomy and knowledge of the body.1 Importantly, Orchesography is “an exact and just translation from the French of Monsieur Feuillet.” Raoul Auger Feuillet (1653-1709) put into print the choreography or dance notation invented by Pierre Beauchamps (1631-1705) dancing master to Louis XIV (1638-1715). This text marks the birth of choreography, linking indelibly body, space, and printed symbols.2 For Feuillet, all dancing was comprised of a small number of essential motions and his system created a planimetric representation of the dancing body, emphasizing possible directions and the paths it may take in space, as well as the motions of the feet and legs. Such a path was notated by a line, and steps or positions by embellished characters on either side. Each symbol or character represented direction, timing and spatial orientation of the performing body to be varied and recombined in infinite permutations to produce any and all dances. This system taught dancers to adhere to a single directional orientation as they moved through space, envisioning a bird’s eye view of their own path. Feuillet’s notation standardized dancing, assimilating all possible movements into a unified system of universal principles and placing all dancing on a plane of pure geometry. Thus, from its beginning, choreography was synonymous with geometry, manipulative strategies and the control of bodies. This organization extended throughout the gardens, architecture and court of Versailles so that no-one could challenge the rank or prestige of the divinely-appointed king. Epitomising the majesty and splendour of the royal court, ceremonial court dance included the presence and participation of Louis XIV himself. This meant that the king’s absolute authority was evoked and enacted, and the movements of his dancer-subjects were heavily codified, demonstrating hierarchies and subjugation to order. From the 1650s Louis XIV was the lead dancer at court balls and ballets, appearing at the apex of the pyramid of French society, leading members of the royal family and highest nobility in the curved, linear formation of the branles as well as the courantes.3 The king was a superlative dancer and his natural skill in dance was said to infuse all of his actions with majesty and grace. As the archetype of the danseur noble, Louis XIV was an example for courtiers and professional dancers to aspire to, therefore dancing-masters such as Weaver took pains to impart to their students his legendary gait. In court ballets, the king featured as the leading dancer in majestic entrées graves or solemn entries created for him by Pierre Beauchamps. The king made his entrance displaying a measured, imposing and graceful gait in the role of Apollo, the Sun or other suitably royal and godlike subjects. Even within the nucleus of his heliocentric court, the movement of Louis XIV was restricted and dictated by protocol. In royal ballrooms and theatres, decorum was of the utmost importance. Even the king was expected to refrain from excessive displays of virtuosity and only skills which seemed to be natural graces were to be displayed. Nevertheless, dancers proficient in such movement were said to appear to unfold and grow in size before their audience. ii. OF: How you can’t be nothing In 2007, New Zealand-based artist Liyen Chong body, growing, yet also dead, sprouting on the very (b. 1979) launched an exhibition and website edge of the self. By drawing with her own hair, in entitled A Humid Day, consisting of re-worked a sense Chong sews fragments of herself, blurring graphic ephemera from the daily life of the artist. artist and object. Even the subject matter of these Just as Weaver took pains to provide an “exact and pieces continues the theme – one series was based just translation” of the French of Feuillet with his upon the artist’s photographs of medical models Orchesography, Chong replicated every nuance of of foetal skulls, a pre-person in the very act of the appearance of her subject matter, replacing becoming. Chong has also embroidered a skeleton only its content with lyrical, idiosyncratic, erudite from her own hair, an Ouroboros consuming and multi-lingual reflections. Thus a teabag tag itself, pearly-moon like bowls crafted from the promises “an elixir of a thousand thoughts,” a facial white hairs of a friend and the plan of a hedge cleanser is labelled “deep reality wash” and a packet maze which renders the self isolated and lost. of pencils “tools for embedding substantiality.” A Humid Day exhaustively crafts the quotidian, More recently, Chong created a series of ranging from the intimate and domestic to the works combining performance, photography, public, institutional and commercial. It includes printmaking, painting and ceramics. These a taxonomy of scores of objects and signs from installations involve rings of found ceramic diverse milieus, from the artist’s bathroom, to a bus- bowls, each of which holds swirling black shapes, stop, to the museum. The clamour of the everyday photographic prints of the artist fired into their is probed, as is the self as an object among scores of centres. Liyen Chong folds into a circular shape, multi-vocal objects. Investigating the boundaries draped in black with her long hair swimming of the self, antibacterial soap and safety warning behind her. There are circles within circles as the signs are reproduced and reinterpreted. Chong bowls are arranged into auspicious mandalas; interrogates what counts as the inside and the the body is reduced to a shape, a dark gesture, a outside of ourselves, unfolding the liminal moments diagram or symbol. Just as Weaver reduced dance when we let our eyes and minds take in language to lines, patterns and hieroglyphs, here the artist is and messages, or our skin absorbs substances – reduced to a swish. By viewing these works from moments when we let things inside of ourselves above, Weaver’s bird’s eye view of the dancer and and excrete back words, ideas and activities. her path in space is repeated. Here the artist is a There is an opening and closing, an awareness of black and thickly painted brushstroke or a written, not only what we assimilate but also what we live calligraphic character. Chong resembles enso, a our lives around and within, the very boundaries symbol used in Zen Buddhism as an expression of our being, the what-ness of the everyday.4 of movement that also signifies infinity. The circle is without beginning or end and as Chong’s Continuing the artist’s interest in the boundaries oeuvre can testify, although not infinite, the of the subject, another prong in the past practice beginning and end of the self is almost impossible of Chong is her meticulous embroidery with to identify. Its boundaries are fuzzy, problematic, human hair. As a material, human hair is personal constantly changing and challenged, commingling yet peripheral, existing at the extremities of the inside and outside, folding and unfolding. right: Untitled 2010, glazed and painted ceramic bowls with photographic decals iii. bad identity art In 1971, Adrian Piper made a series of photographs of herself standing in front of a mirror, documenting the physical and metaphysical changes which took place as she fasted and read Immanuel Kant’s Critique of Pure Reason (1781). Ten years later these images were published and entitled Food for the Spirit (private loft performance, 1971).5 Secret performances such as this can lie dormant, with only the performing artist knowing of their slight existence. It is only when they manifest themselves within documents that they can be shared, made public, scrutinised and incorporated into art history. However the very act of documenting the initial performance suggests an intention by the artist to share and for it to be viewed by others sometime in the future. Theatrical photography is frequently used as a medium with which to above: Enter 2011 (variable media) perform the self, resisting or parodying inscribed and conventional notions far right: IMG_2966, 3rd June 2010 (electronic file) of body image and identity. In Food for the Spirit, Piper, an artist identifying as African American, records her experience as she reads an immensely dense and seminal philosophical text. By fasting during her reading and photographing herself naked, she renders an intellectual journey physical and performative, additionally she challenges the pre-conceived notion of a philosopher as a white, middle-aged man. Food for the Spirit bridges reading, research, body art, philosophy and spiritual practices. As part of Eye Body (1963) another American artist, Carolee Schneemann, wrote that she wanted her “actual body to be combined with the work as integral material – a further dimension of the construction.” Here the artist is no longer a mere image-maker and just as Weaver highlighted the relationship between anatomy and dance, Schneemann began to explore flesh as material and the body as “marked, written over in a text of stroke and gesture.”6 Many female artists embarked upon a similar journey, making themselves the very material of their art; Yoko Ono, Yayoi Kusama, Hannah Wilke, and Cindy Sherman all performed their identities and imaged themselves through performance and photography.
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